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Copyright Transactions with Soviet Authors: the Role of VAAP Loyola of Los Angeles Entertainment Law Review Volume 11 Number 2 Article 5 3-1-1991 Copyright Transactions with Soviet Authors: The Role of VAAP Elena Muravina Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Elena Muravina, Copyright Transactions with Soviet Authors: The Role of VAAP, 11 Loy. L.A. Ent. L. Rev. 421 (1991). Available at: https://digitalcommons.lmu.edu/elr/vol11/iss2/5 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. COMMENTS COPYRIGHT TRANSACTIONS WITH SOVIET AUTHORS: THE ROLE OF VAAP After this Comment was completed, the Soviet government officially elimi- nated VAAP's monopoly as of January 1, 1991. I. INTRODUCTION In the current climate of intensified business and cultural contacts between the United States and the Soviet Union, and with the Soviet market rapidly opening to the West, there is a need for basic knowledge of the operation of the Soviet legal system. This Comment attempts to expand the American legal community's understanding of how business is conducted with the Soviet Union in the area of literary copyright ac- quisition and sale. This understanding requires a close look at the nature and function of VAAP, the All-Union Agency on Copyrights, or, in transliteration, Vsesouznoye Agenstvo po Avtorskim Pravam. Although an American who desires to purchase rights to a book or to commission a screenplay by a Soviet writer may not be directly af- fected by the relationship between the author and his Soviet agent VAAP, an enhanced understanding of this relationship may enable an American party to conduct negotiations with greater ease, avoid sur- prises and achieve better results. International players in this arena need advice on how to avoid the pitfalls of having an executed contract voided by an organ of the Soviet government, or of having a coproduction deal suddenly come apart, or a purchased property snatched away by another buyer. Competent legal representation requires some knowledge of the customs of the Soviet legal system. First, this Comment attempts to shed light on VAAP's place in the Soviet system of copyright laws, although a detailed analysis of Soviet copyright law is beyond the scope of this work. It focuses on the dual legal status of VAAP and the detrimental effect it has on Soviet authors. This negative impact is due, in large part, to the monopolistic character of VAAP's activities. The legal foundation of VAAP's monopoly which allows it to control creative forces in the country is examined in the sec- ond part of the Comment. VAAP's impact on the international client is a LOYOLA ENTERTAINMENT LAW JOURNAL [Vol. I11 subject of the third part of this work. Finally, the Comment focuses on the inevitable changes brought about by glasnost and perestroika. This Comment attempts to assess effects of the changing political climate on VAAP and to make some predictions for the future. II. WHAT IS VAAP? A. Historical Background After the Revolution of 1917, the newly born Soviet government had many pressing concerns. Copyright protection was not among them. In fact, the first comprehensive Soviet Copyright Law was not enacted until 1925. This law was amended in 1928, in 1961 and again in 1973 after the USSR joined the Universal Copyright Convention.' While some of the earlier laws have been repealed, such as a law authorizing the nationalization of copyrights,2 certain distinct features of the original So- viet copyright laws have been retained. Among them are the separation of property and non-property (droitmoral) 3 rights in an author's work,4 the normative character of an author's remuneration in the majority of cases,5 compulsory purchase of a work by the State,6 free uses and com- pulsory licenses.7 Of particular interest to the foreign reader is the legal requirement that most contracts conform to a model contract which im- poses rather rigid terms on all the negotiating parties.8 As such, models often influence other contracts as well. 9 1. See generally Levitsky, Continuity in Soviet Copyright Law: A Legal Analysis, VI REV. OF SOCIALIST LAW 425-64 (1980); The Beginnings of Soviet Copyright Legislation 1917-1925, THE LEGAL HIST. REV. L. 49-61 (1982). 2. See generally Levitsky, supra note 1 and accompanying text. 3. The term "droit moral" refers to certain unalienable "moral" rights of an author in his work. See generally M. NIMMER & P. GELLER, INTERNATIONAL COPYRIGHT LAW AND PRACTICE (1989). See also TechnologicalAlternations to Motion Pictures and Other Audiovi- sual Works: Implicationsfor Creators, Copyright Owners, and Consumers. Rep. of the Reg. of Copyrights, Mar. 1989 reprinted in 10 Loy. L. A. ENT. LAW J. 1 (1990). 4. FUNDAMENTALS OF CIVIL LEGISLATION OF THE UNION OF SOVIET SOCIALIST RE- PUBLICS AND THE UNION REPUBLICS, [FUNDAMENTALS] as amended up to Oct. 30, 1981, Ch. IV, Copyright, art. 98, reprintedin English in 3 COPYRIGHT LAWS AND TREATIES OF THE WORLD, Supp. 1981-1983, USSR: Item lB. 5. Id. 6. Id. at art. 106 at 4. 7. Id. at arts. 103, 104 at 3. 8. CIVIL CODE OF THE RUSSIAN SOVIET SOCIALIST REPUBLIC, [CIV. CODE] Fourth Sec- tion, Copyright, art. 506, reprinted in English in COPYRIGHT LAWS AND TREATIES OF THE WORLD, Supp. 1977, USSR: Item 4. 9. This influence stems from the Soviet legal community's understanding of the purposes served by adopting a model contract: "[m]odel contracts are not simply departmental acts. Their purpose is to show both parties the most correct format of a contract and its most correct content, which would serve the interests of the society, and the interests of the au- 1991] VAAP Because of the above-mentioned characteristics, Soviet copyright law, in general, appears in many respects to be much more restrictive of an author's interests than its Western counterparts. It is against this background that a Western party interested in the acquisition or sale of a literary copyright in the Soviet Union must attempt to negotiate a mutu- ally beneficial agreement. Before 1973, the responsibility for administer- ing Soviet copyright laws was delegated among various artistic trade unions.'" Since 1973, the date of the Soviet Union's accession to the Uni- versal Copyright Convention ("UCC"), the principal Soviet negotiating partner has been VAAP, the All-Union Agency on Copyrights. B. Formation and Functions of VAAP VAAP was formed to meet the new need to protect the rights of Soviet authors in the West, as well as the rights of foreign authors and artists in the USSR. Until joining the UCC, the USSR paid no royalties for use of Western copyrights nor expected to receive any for the use of Soviet copyrights." VAAP's functions, as outlined in a Decree of the USSR Council of Ministers No. 588,2 and reiterated by the VAAP's Statute,'3 include, but are not limited to, the following: acting as an in- termediary in the conclusion of agreements between Soviet publishers and foreign artists and Soviet artists and foreign publishers; receiving and paying royalties due to Soviet authors from the use of their works abroad and paying to foreign authors the royalties earned by the use of their works in the USSR; collecting and paying royalties to Soviet authors for thors." E. P. Gavrilov, Legal Enforcement of Authors' Contracts, 6 PRAVOVEDENIE at 42, 44 (1981). The mentality which assumes that there is a "most correct" format or content for a contract inevitably spills into the area of licensing agreements, even if the latter type does not have to conform to the models. This subject is discussed in greater detail further in this Com- ment, see infra Part IV(c). 10. M. NEWCITY, COPYRIGHT LAW IN THE SOVIET UNION at 126, (Praeger Publishers 1978). 11. For the historical background on the Soviet Union's accession to the UCC, see gener- ally Levin, Soviet International Copyright: Dream or Nightmare? 31 J. COPYRIGHT SOC'Y U.S.A. 127 (Dec. 1983). 12. The Decree of the USSR Council of Ministers No. 588, as of Aug. 16, 1973, entitled "On the All-Union Agency on Copyrights." This decree has never been published in its en- tirety. Excerpts were published by the newspaper Izvestia, Dec. 26, 1973. The author of this Comment was able to obtain a fuller text of the decree, available in Russian in the author's files. However, even this fuller text contains a number of references to deleted paragraphs, designated "Not for publication." Under the Decree No. 588, the State Committee for Cine- matography, the State Committee for Radio and Television and the Press Agency "Novosty," retained the right to sell and buy copyrights, but were obligated to register their transactions with VAAP. 13. Statute of the Copyright Agency of the USSR, VAAP, endorsed by the Conference of Sponsors of the Copyright Agency of the USSR on Sept. 20, 1973. LOYOLA ENTERTAINMENT LAW JOURNAL [Vol. I11 the use of their works in the USSR; taking necessary steps to protect the rights of Soviet authors and their successors in title; maintaining a list of works by Soviet authors and the occasions of their use; formulating and recommending modifications of Soviet copyright law; participating in in- ternational copyright conferences; and concluding treaties.14 This list is interesting not only for what it contains, but also for what it omits.
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